Telemann Polonoise

Holland Baroque
AISSLINN NOSKY
POLONOISE Georg Philipp Telemann (1681-1767) 18 Le Ris 1. 38
19 Rigidon 0. 58
Polonié 20 Combattans 1. 14
1 Polonié 2 (TWV 45) 3. 28 21 Hanaque - Sarrois 2. 04
2 Polonesie (TWV 45) 1. 45 22 Gigue 1. 40
3 Polenesie 8 (TWV 45) 1. 11
4 Allegro (TWV 43:B2) 1. 45 23 Polonoise (TWV 41:D4) 1. 36
5 Tourbillon (TWV 55:D12) 1. 52 24 Loure (TWV 55:g4) 3. 00

Polonesie Concerto Polonois in G Major TWV 43:G7

6 Polonoise (TWV 55:a4) 3. 17 25 Dolce 2. 11
7 Polonesie 4 (TWV 45) 2. 03 26 Allegro 2. 12
8 Polonesie 17&18 (TWV 45) 2. 35 27 Largo 2. 09
9 Polonoise (TWV 55:D13) 1. 33 28 Allegro 1. 52
10 Musette (TWV 55:D13) 2. 33
11 Batelière (TWV 55:D13) 0. 59 Hanac
29 Polonié (TWV 45) 3. 09
Concerto Polonois in B-flat Major TWV 43:B3 30 Hanaquoise (TWV 55:D3) 1. 57
12 Polonoise 2. 01 31 Hanac (TWV 45) 1. 01
13 Allegro 3. 19 32 Hanac (TWV 45) 1. 34
14 Largo 2. 44 33 Hanasky (TWV 55:E1) 1. 02
15 Allegro 1. 00

Partie Polonois TWV 39 Total playing time: 67. 40

16 Ouverture 3. 49 Arrangements by Judith and Tineke Steenbrink
17 Harlequinade 1. 30
 Musicians

Aisslinn Nosky violin

Judith Steenbrink violin
Chloe Prendergast violin
Filip Rekieć viola
Tomasz Pokrzywinski cello
Christoph Sommer lute
Tineke Steenbrink harpsichord

Artistic leaders
Judith and Tineke Steenbrink

4 © NDR, Micha Neugebauer Aisslinn

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Polonoise examines Telemann’s view of the
Polish style. His Danse d’Polonie (TWV 45),
in which he notated the dance music he
heard during his stay in Poland, inspired
the conception of this album. From the
starting point of this manuscript, we also
investigated how Telemann applied the
Polish style in his own works, with the two
Concerti Polonois in B-flat and G (TWV
43:B3 and 43:G7) as fantastic examples of
this. In these concertos we hear Telemann
playing with his knowledge of the different
European styles. His mastery of the
Polish style intertwines with the Italian,
the German, and the French. Another
excellent example of this is his Partie
Polonois (TWV 39:1), a suite originally for
two lutes notated in lute tablature, here in
an arrangement for five strings and basso
continuo. Searching further for the Polish
style in Telemann’s oeuvre, we looked
at which pieces Telemann referred to as
Polonaises or Hanaquoises. We then also
chose dances that do not have an explicit
Polish title, but where we recognized the

6 Aisslinn, Judith, Christoph, Chloe and Tineke

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spirit and character of the style. Because 18th century, the character of the specific the dance. A soundscape unfolded with the Telemann writes in his autobiography:
this album is about the Polish style through dance of the Polonaise, which is sometimes Polonaise at the source. It was Telemann “In 1704 I was appointed Kapellmeister
the eyes of Telemann, we have chosen a seen as a variant of the Mazurka, another himself who, with all his Polonaises and in Sorau (Zary) by His Excellency Lord
chamber music setting, for which he wrote traditional Polish dance, took on clearer Hanaquoises, gave us a highly evocative Count Erdmann von Promnitz. When the
so much: four- and sometimes five-part forms. By the mid-18th century, the pan- picture of the Polish style. We discovered Court resided in Plesse and Krakow for six
strings with basso continuo. European version of this specific Polish that Polonaises can differ considerably months, I got to know both Polish music
dance (known as Polonaise in French) from each other. The name of the dance and the music of the Hannaken. This in all
Polish dance bore increasing similarity to the source can also be written in many different ways. its barbaric beauty. The music came from
Polish dance was already popular dance in Poland. The Polonaise consists of In his Danse d’Polonie Telemann uses four different instruments: an extremely
throughout Europe in the 16th century, a phrase of 2 bars with a certain striking many different titles: Polonoise, Polonié, shrill violin, a Polish bagpipe, a bass
known by names such as Chorea Polonica, rhythm, the closing measure of which is Polonesie, Polon, Polone and Polonoyse. trombone, and a regal. I once heard thirty-
Baletto Polacco, Polnischer Tantz, and always short-long. In German dances, it Interestingly, never Polonaise. However, six bagpipes and eight violins together.
Saltus Polonicus. What did 17th-century is the other way around, with many final it is not surprising, because Polonaise It is impossible to imagine the fantastic
Europe associate with Polish dance? measures ending in a rhythm of long-short. is the French title, and Telemann was musical ideas they presented between
It seemed to be a collective term for This variance is often explained by the incorporating the Polish style in his own dances when the dancers rested and the
many different dance forms, pieces that difference in the rhythm of the Polish and way and not through a French lens. It is musicians improvised music together to fill
originated as a Polish melody or rhythm. German languages. well known that he was a master of the out the time.”
Names designating a relation to Poland French and Italian styles, but his exposure
are used in manuscripts or printed books But what exactly defines a Polonaise? to the Polish style through his travels also Telemann writes enthusiastically:
for a wide variety of pieces, in different And how do you play it? This album is an happened at a young age. He was barely “After only a week of hearing what is
time signatures with different rhythmic example of research through practice. 25 years old and at the beginning of his played there [in the Polish taverns], you
patterns. Sometimes pieces of music that We played one Polonaise after another career when he heard this Polish music will have enough ideas to last a lifetime. In
originated elsewhere in Europe were also and this showed us both the nuances that would inspire him for the rest of his short, there is much to be gained from this
reworked into the Polish style, the so-called that distinguish each one, as well as an life. music if you know how to work with this
‘Proportio nach der Art der Pohlen’. In the understanding of the general character of material properly.”

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 He also writes:
“Later I wrote large concertos and trios in
this style, which I then gave an Italian spin
by alternating Adagios with Allegros.”

Danse d’Polonie
Danse d’Polonie consists of a collection
of dances in Telemann’s handwriting. The
manuscript is located at the University
of Rostock and is therefore also known
as the Rostock Manuscript. In addition
to Polonaises with all different kinds of
names, the manuscript also contains
Hanaques (Hanacs) and a tres viste.
Because the violin part is referred to as
Violino Pro (Violino Primo), a second violin
and a viola part may be missing. However,
there are no other indications that these
exist. It may also be that Danse d’Polonie
was Telemann’s notebook where he wrote
down the melodies as he heard them, and
then later wrote the middle parts when he
incorporated the original material in his
trios and concertos. In his autobiography
Telemann writes that the 30 dances from
Tineke
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 the Danse d’Polonie manuscript are literal We saw Telemann sitting in a tavern
quotes from the field. When he uses these and admiring the Polish musicians. We
dances in his concertos, as in TWV 55:D3 imagined how his beer and food tasted;
(Hanaquoise), he leaves melody and the bread and the meat. We heard the
compositional form intact. music merging with the natural noises
of the tavern. We saw people dancing.
Musicians on Polonoise Through Telemann’s music, the past came
Judith Steenbrink: “Softness and to life and we enjoyed it so much! More
tenderness, mountains, trees, stones, and and more we wanted to sound like the
earth. There is so much you can find in a picture that Telemann brought to life.
Polonaise. It might sound contradictory, His music awakened our imaginations
but for me the Polonaise represents both so easily. We wanted to make this album
melancholic solitude as well as uplifting sound like the Poland that Telemann
energy. showed us through these dances and
melodies.”
Telemann shows you how to love the
Polonaise and highly appreciate the Polish Cellist Tomasz Pokrzywinski: “For me, as
style. Through his melodies we began to a Pole, it has always been obvious what
imagine his visit there. More and more we a Polonaise is: a dance that captures the
started picturing what he must have seen spirit of old Poland and represents Polish
and heard. We could almost smell the culture of the 18th and beginning of the
earth, the stones, and the fresh air of the 19th centuries. We know it not only from
Polish mountains while we were recording. musical sources, but also from beautiful
Every day we could imagine this country descriptions in literature of this period.
from centuries ago clearer and clearer.
Tomasz
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 During the preparations for the recording Holland Baroque’s guest on this album is
of this album, I realized that the Polonaise effervescent violinist Aisslinn Nosky, with
has been an object of fascination and whom we share an unconventional view
research not only for Telemann, but for of baroque music. “Working with Holland
many other German composers and music Baroque is one of the things I love most
theorists as well. Their observations and in my life as a violinist. What draws me
our modern image of a Polonaise seem to to this group is their complete dedication
match very well! to authentic emotional connection in
their music making, which I believe gives
What are the characteristic features that each performance a unique intensity. You
define a Polonaise? The first one that don’t just hear a performance by Holland
comes to mind is pride. It was a dance of Baroque, you feel it. On this recording we
a very proud nation. It was a royal dance. turned that emotional intensity towards
It was a ceremonial dance that opened Telemann’s Polish style. Focusing on some
all the important balls and festivities. of his lesser known works and using an
Therefore, it had to be elegant. It was intimate five-part texture allowed us
danced slowly, without fast figures or to explore what I think is an overlooked
jumps. As with every dance, a Polonaise aspect of this composer’s genius: the fact
has its own typical rhythmic patterns. that he could be so inventive with very
Interestingly, there are some analogies basic musical materials. A simple melody
between these patterns and the rhythm develops into an elegant overture. The
and accentuation of the Polish language. same pitch repeated six times in a row
And because it represents a culture that blossoms into a jolly and humorous Allegro.
is gone forever, I always feel a shade of At first glance (or listen) this music might
nostalgia in the Polonaise.” seem simple, but upon playing it we were
Filip and Judith
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drawn into a sound world of delightful Holland Baroque Neapolitan: again, a tribute to the past Kamerkoor, Cappella Amsterdam,
variety and emotional complexity. After and at the same time as current as today’s Radialsystem, Orkater, Marco Ambrosini,
a six-month hiatus from performing, Holland Baroque is an original and news. Holland Baroque and Reinbert Dorothee Mields, Toshio Hosokawa, Nico
this project was my first opportunity to innovative baroque orchestra. The de Leeuw became close friends during Muhly, and many others.
make music collaboratively again. For musicians use their instruments to sing, their quest for his truth behind Bach’s St.
me, Telemann’s Polish style will forever be dance, cry, and laugh through tradition, Matthew Passion. Cherry Duyns made a Aisslinn Nosky
associated with this glorious experience of innovation, surprise, and a dash of documentary about this process, which
reconnecting with my musical family.” entertainment. Founded in 2006, Holland was shown in cinemas for months. Bach in A versatile and dynamic violinist, Aisslinn
Baroque has worked with many soloists, the cinema: a unique event. Nosky has enraptured the world with her
In Closing composers, choirs, and theatre producers. impeccable technique and innovative
Polonoise is for curious listeners who want Tineke and Judith Steenbrink are the curiosity. Her fierce passion for early music
to discover a different side of Telemann. Encounters with soloists often result in artistic team and beating heart of the and skills as soloist, director, and conductor
Here, his sparkling inventions combine warm friendships and unlock new worlds ensemble. These baroque twins curate have created a robust appreciation by
with the noble tradition of the Polonaise. of sound. The easy blend of Eric Vloeimans’ the ensemble’s sound, create original press and audiences alike. Hailed as, “a
We enjoyed this voyage of discovery to the velvety sound with the cornetto shows programmes, and rewrite repertoire fearsomely powerful musician” by The
land of the Polish mountains. Thank you us that baroque is now. Together this according to Holland Baroque’s style. After Toronto Star and called, “superb” by The
to our friend Aisslinn Nosky for joining us trumpet whisperer and Holland Baroque years of musical encounters it is crystal New York Times, demand for Aisslinn spans
on this journey and bringing the dancing were awarded an Edison for their album clear to us: baroque can be found in many continents and continues to grow. Aisslinn
dream to life. Carrousel. Touring with piano virtuoso places. Baroque is now. is concertmaster of the Handel and Haydn
Leszek Możdżer proved that in a baroque Society of Boston and a member of the
orchestra the score can keep changing Holland Baroque has shared the stage with Eybler string quartet. From 2005 to 2016
when the composer is improvising Daniël Lohues, Wu Wei, Reinbert de Leeuw, she was a member of Tafelmusik Baroque
among the musicians. Cellist Giovanni Giovanni Sollima, London Community Orchestra.
Sollima wrote compositions for Holland Gospel Choir, Lars Ulrik Mortensen, Hidemi
Baroque that could not have been more Suzuki, Amandine Beyer, Nederlands

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Acknowledgments Also available
on PENTATONE
PRODUCTION TEAM
Executive producers Judith Steenbrink, Tineke Steenbrink (Holland Baroque)
& Kate Rockett (PENTATONE)
Recording producer Carl Schuurbiers
Recording engineer Jean-Marie Geijsen (Polyhymnia International B.V.)

Liner notes Judith & Tineke Steenbrink | Photography Wouter Jansen

Design Marjolein Coenrady | Product management Kasper van Kooten

This album was recorded at Musis, Arnhem, The Netherlands, in August 2020.

Holland Baroque would like to thank: Team PENTATONE, Carl Schuurbiers, Jean-Marie Geijsen, Luuk van Dijk, Luuk van Geffen,

Clara van Meyel, Liane Verheul, Chloe Prendergast, Haru Kitamika, Harm Zeven, Matthijs Kappers, Wouter Jansen and Arth Pixels.

And Musis Arnhem, especially: Hans Verburgt, Kenne Peters, Mathieu Roskam, Casper and Marcel.

hollandbaroque.com

PENTATONE TEAM
Vice President A&R Renaud Loranger | Managing Director Simon M. Eder PTC 5186 800
A&R Manager Kate Rockett | Product Manager Kasper van Kooten
Head of Marketing, PR & Sales Silvia Pietrosanti
Sit back and enjoy